Oil Interior Paintings

French School, mid 20th century signed, titled verso oil painting on board, framed framed: 15 x 18 inches board: 10.5 x 13.5 inches provenance: private collection, France condition: ...

Oil Painting of Whale - Impasto Palette Knife Artwork on Canvas Dive into the mesmerizing beauty of the ocean with this stunning oil painting of a whale, created using the impasto t...

A summer landscape with wildflowers, a forest lake and a clear sky is a beautiful decoration for any interior. The painting is created en plein-air in one of favourite artist's place...

La obra va firmada por el artista en la parte inferior Se presenta enmarcada la pintura El estado de la obra es bueno Medidas obra: 47 x 56 cm. Medidas del marco: 71 x 80 cm. Emilio Grau Sala Nace en Barcelona en 1911. Maestro catalán de la Escuela de París, recordado por sus magníficas escenas realistas. Se forma en la Escuela de Bellas Artes de Barcelona. Tras varias exposiciones en su ciudad natal y ya siendo un pintor de éxito, contrae matrimonio con la pintora Ángeles Santos Torroella. De ambos nacerá en 1937 el futuro pintor Julián Grau Santos. En 1936 expuso en el Museo de Arte Moderno de Madrid y, coincidiendo con el inicio de la Guerra Civil Española, se traslada a París. Conoció de cerca las vanguardias inclinándose por una figuración colorista, derivada del impresionismo y el fauvismo. Allí entrará rápidamente en contacto con el núcleo de artistas españoles. Realiza una pintura próxima al postimpresionismo francés, con un marcado acento lírico. En París alcanzó un gran éxito realizando multitud de exposiciones. En 1936 recibe el Premio Carnegie. Grau Sala destaca, además, como creador de escenarios teatrales y como excelente ilustrador. Fallece en Barcelona en 1975. Celebró diversas muestras individuales, sobre todo en Barcelona y París, pero también en ciudades como Nueva York, Toulouse, Londres o los Ángeles. En el 2015, su hijo Julián Grau Santos cede la obra familiar de su padre para la venta a Beatriz Bálgoma como marchante. A partir de este momento la galerista expondrá obras del artista en diversas ferias de prestigio nacionales e internacionales como Feriarte, Lisbon Art...

Central Park is the most beautiful, famous and popular park in New York. It covers an area of 3.4 sq. kilometers. People come here to disconnect from everyday worries, absorb the energy of nature and feel the joy of the holiday in the soul, which gives us confidence and vitality. This painting was presented in Lugano (Switzerland) at the exhibition - competition "Golden Palette", where Vik Schröder received this award (Covered by the Press). This artwork was created on a high-quality canvas (80/60 cm) with a palette knife, using environmentally friendly oil colors with natural pigment. The painting was created in a unique individual technique in the impressionism style. The impasto painting style, achieved with a palette knife, gives the piece incredible depth and texture, creating a feeling of complete contact with nature. It does not require a frame. Painting is covered with UV varnish. Signed back. Ready to hang. Сontemporary Art. One-of-a-Kind Painting (only one piece worldwide). Certificate is attached. This artwork is from a series of paintings that heal your space. About the artist: Vik Schroeder...

Immersed in the vast embrace of the ocean, I found myself surrounded by shimmering waves of life—countless colorful tropical fish moving in perfect harmony, reflecting the ever-chang...

Artist Jill Keller Peters is a colorist whose abstract color-field oil paintings communicate ideas through color. By juxtaposing pure and vivid hues that speak to each other when com...

This authentic Mexican ex-voto is a heartfelt tribute of gratitude, painted in oil on tin with ink circa 1940 by an anonymous Mexican artist. It is beautifully framed in a hand-carve...

François Bonvin (1817 - 1887) Interior scene - Woman and child 1871 Signed, dated and located lower right (London) Oil on canvas 48,2 x 33,2 cm (63 x 48 cm with frame)

Robert O'Meara (American, XX-XXI), Still Life of Flower, Oil on Board, depicting yellow rose in glass jar near windowsill, signed lower right, wood frame. Larger: image: 9.75" H x 10...

This mesmerizing piece, "Sardines", was painted entirely underwater at a depth of 7.1 meters by artist and professional diver Olga Nikitina. Executed in her signature underwater impr...

Pair of 19th Century "Gambling" Oil Paintings After Adriaen van Ostade Each painting shows men gambling in a cellar Original oil on canvas Dimensions 10" wide x 12" high The orna...

Story illustration for “Appearance and Reality” by W. Somerset Maugham, published in Cosmopolitan, November 1934, pages 22-23. Described as "A masterfully witty story of manners and...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

Portrait Of A German Pinscher, 19th Century EDWARD AISTROP (1880-1920) Circa 1900 portrait of the head of a German Pinscher, oil on board by Edward Airstrip. Important early depict...

This beautiful painting by Jeroen Allart is part of his minimalist landscape and animal painting he did in his home country the Netherlands. 'A farm stands before you on the horizon....

Title: Audierne French Impressionist Painting of Boats and Harbour Reflections by Fanch Lel Signed: Yes Size: 10.25 inches (height) x 12 inches (width) Medium: Oil on board, unframed...

Oil on artist board signed and dated lower right featuring pool players playing a point match in the pool hall. Great WPA feel and texture impasto. Most likel...

Anthony Procter The Studio oil on board 48 x 60.5 cm 18 7/8 x 23 7/8 in signed

"In this piece, I've captured the essence of rejuvenation. The vibrant strokes and vivid colors symbolize nature's awakening, weaving a tapestry of growth and vitality. With each bru...

The Kitchen Interior French, circa 1930's oil painting on board, unframed board: 9.5 x 13 inches condition: very good provenance: private collection, France

Artist: Detlef E. Aderhold Medium: Mixed Media on Canvas Edition: Original Abstract Painting in Turquoise, Green, Yellow, Blue, Red and Black About the Artist: Detlef E. Aderhol...

"Cloud" by Helen Mount is a powerful reflection of the majesty of nature. Yellow and golden fields create a vivid contrast to the blue-green tones of the dense forest, emphasizing th...

Antique American impressionist still life oil painting. Oil on board. Framed. . In excellent original condition. Handsomely framed in a giltwood molding. Excellent condition, re...

I tried to find the color harmony of red-green pears and bright yellow milk jug. The shape of the jug echoes the shape of pears and the drapery, giving a unified movement and dynam...

Unframed, original work on paper Belgium based artist, Pierre Bergian, expresses his fascination with architecture through his paintings by exploring space and structure. Old abando...

Medium: Oil on Board Signature: Signed Lower Left Sight Size 27.00" x 23.75;" Framed 34.50" x 37.50" Original cover illustration for The Saturday Evening Post, September 12, 1959. ...

'Love lyrics,' a romantic Italian genre painting by Antonio Paoletti Italian, Late 19th Century Panel: height 40cm, width 50cm, depth 1cm Frame:...

Artist: Detlef E. Aderhold Medium: Mixed Media on Canvas Edition: Original Abstract Painting in Turquoise, Green, Yellow, Blue, Red and Black About the Artist: Detlef E. Aderhol...

Two paintings, each one is 32″ x 48″. What a gift for the Candyland aficionado in the family. One cannot appreciate these paintings on a computer screen; in real life, they are abs...

ARTHUR BOYD HOUGHTON (1836-1875) Sunday Afternoon Signed l.l.: Houghton Oil on canvas Framed 20.5 by 25.5 cm., 8 by 10 in. (frame size 30.5 by 34.5 cm., 12 by 13 ½ in.) Provenance: William Drummond; Private collection. Probably painted in 1864, the present work evokes the peaceful contentment of everyday family life, with its small scale further reinforcing the intimacy of the scene. It is one of a series of small intimate family scenes produced during this happy period of his life. A male figure, possibly the artist’s himself, slumbers in a chair, a handkerchief draped over his face whilst Susan, the artist’s young wife reads by the window. Their child, either Arthur or Georgina, plays on the floor with a discarded newspaper. The room is at 4 Adelaide Villas, St Mary’s Grove, Richmond, the house Arthur and Susan moved to shortly after their marriage in 1861. The chaise and window, with its pots of geraniums, also feature in the 1864 painting Coach and Horses (private collection) which depicts Susan, with her hair down, playing with Arthur and Georgina. A pot of daffodils placed beside the same geraniums in the present work suggest it may have been painted in the spring of that year. Such domestic bliss would shortly come to a tragic end when Susan died of pyaemia following the birth of their third child in June 1864. Houghton was born in India, the son of a captain in the East India Company’s marine service. Both is father and older brother were accomplished military draughtsmen and he probably received early training from them. His family returned to England in the early 1850s and he began studies at Leigh’s and the Langham...

"Drugs" by Danny Heller draws inspiration from a pharmaceutical store on a busy avenue corner in NYC. See second image for the real life referenced location. My latest series openi...

FERJO Intérieur surréaliste Signed Oil on Canvas 51 x 61 cm Ferjo, Brazilian (1946 - ) Ferjo Technical achievements in art not only in painting...

French school of the first half of the 19th century Oil on canvas 45.5 x 60 cm (59.5 x 74 cm with frame) Beautiful 19th century carved and gilded wooden frame Good condition (a few r...

ARIEH ALLWEIL (ARIE ALWEIL) 1901-1967 Galicia 1901-1967 Safed, Israel (Ukrainian/Polish/Israeli) Arieh Allweil, born 1901, Galicia. Immigrated to Palestine in 1920. Studies: 1921-25...

Artist: Detlef E. Aderhold Medium: Mixed Media on Canvas Edition: Original Abstract Painting in Turquoise, Green, Yellow, Blue, Red and Black About the Artist: Detlef E. Aderhol...

In crafting this piece, I sought to capture the ephemeral beauty of nature's awakening. Each brushstroke embodies the vivacity and energy of new beginnings, weaving a dance of color ...

Artist/ School: French School, circa 1970's, signed lower right Title: Still Life with Nude; beautiful range of colors. Medium: very thick impasto oil painting on canvas, unframe...

Patron of the arts and sciences Ann Getty (1941–2020) brought the same bounteousness to her interiors as she did to her philanthropy, most notably at the 191...

ABOUT THE ARTWORK "Water Lily Garden" is a tranquil portrayal of serenity and natural elegance. The artist has skillfully captured a moment in time where the water's surface becomes ...

This painting depicts a whimsical portrait of a young boy with light brown hair against a viridian green background. The piece is done in a highly impressionistic manner and is a won...

George Weissbort (British, 1928–2013) Still Life of an Interior with Trunk and Drapery Oil on board, signed lower left Circa 1970 Presented in the original English oak frame This ri...

Alexander Sharpe Ross gives us a voyeur view of an attractive couple kissing and embracing on a couch. Sharpe's radical use of composition is on ...

A Vibrant, Colorful 1950s Mid-Century Modern Still Life Painting by Noted Chicago Artist, Rudolph Pen. Depicting a radiant still life of fresh flowers, plates of fruit and a wine bo...

Original oil painting on canvas . How often are we in the moment, genuinely captivated by the beauty of nature, connecting with ourselves? Filled with the nature of Thailand, I exp...

This piece titled "Abundance Mentality" is an original artwork by Katherine Fraser and is made of oil on canvas. This piece measures approximately 54" x 70" and is shipped in the pic...

Thomas Bossard was born in 1971 in Poitiers, France, to a large and creative family. His mother fostered his interest in art since an early age, bringing Thomas to various museums wh...

The sea is especially beautiful when the sunny warm evening light illuminates the waves, which begin to shine. The sunny evening seascape is unique, because the artist used his uniqu...

CASTAING Henri Joseph (1860-1918) Young girl at the source Oil on canvas signed low left Frame gilded with gold leaves Dim canvas : 100 X 66 cm Dim frame : 121 X 86 cm CASTAING Henr...

Artist/ School: David Wilkie Wynfield, (British 1837-1887) Title: Elegant Ladies in a Drawing Room interior scene Medium: oil on panel, framed Framed: ...

A sweet and intimate family scene by the rarest of artists: French early 19th Century child prodigy Henri-Louis-Hippolyte Poterlet (1804-1835). Poterlet was a close friend and confi...

"Catchment of Time". This work combines the natural forms of the water catchment flower with the Ukrainian ornament "Berehynia", which symbolizes protection and feminine energy. The ...

"In this oil painting, I've captured the vibrant essence of a meadow brought to life through harmonious colors and dynamic brushstrokes. It's the embodiment of nature's serenity and ...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are stories of recurring human issues often prompted by a twisted reality. Ushenko’s earlier works where primarily mythological and allegorical. Her later works are focused on depicting human situations and interactions of people who are both living and dead. These paintings represent social situations, timeless stories and enduring issues that are rendered with a contemporary twist. Always a significant element in Ms. Ushenko’s work is her integration of Venetian Renaissance methods of paint application with Impressionist color and light theory. The combination of the old masters’ technique of glazing the canvas and carefully layered surfaces of paint enhance the luminosity of Ushenko’s work. Audrey Ushenko has exhibited her work extensively throughout the United States including several shows at Denise Bibro Fine Art, NYC; the Fort Wayne Museum of Art, IN; The National Academy of Design, NYC; University Museum, Southeast Missouri State University, Cape Girardeau...